Dance drama, as one of the oldest art forms, is always appreciated due to its rich aesthetic values. This work is set to analyze and evaluate the aesthetic values associated with dance drama. One of the entertainment genres, dance drama, has provided prerequisite aesthetic pleasures to the audience over time. We Are Rivers is one of the performances that popularizes the creative presence and chronicles issues and activities of Rivers State from the pre-colonial, colonial, and post-colonial eras. The cardinal aim of this paper is to examine the aesthetic values, such as gestures, dance steps, costumes, body movements, and symbols, amongst others, that characterized the dance drama. Dance drama does not only provide entertainment and relaxation to the audience alone; it engages in communicating ideas and emotions and feelings as well as documenting and presenting historical activities. This is quite evident in Julie Okoh’s We Are Rivers. The work employs Rudolf Laban’s dance theory as a roadmap of critical analysis of the topic under examination. The modest recommendation of this paper is that playwrights and institutions of arts and culture should write and present dance drama performances to the audience, as it goes a long way in reviving the dance dramatic genre as one of the vibrant art forms. This unique art form, when sufficiently explored, becomes a vibrant vehicle for entertainment, information, and education for society.